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It is important to register your purchase; if you have not already filled out your warranty card and mailed it back to Alesis, please take the time to do so now.

Basic Connections

The NanoVerb will work in many different applications, whether you are connecting an instrument directly into it, or connecting it with a mixing console. Briefly described here are the basic connections to get you up and running quickly. For more information on connections, please refer to Chapter 2. Mono In, Mono or Stereo Out. Connect a 1/4" phone cord to the [LEFT/MONO] INPUT of the NanoVerb from a mono source. (The Left input will then feed both inputs.) Connect another 1/4" phone cord from the [LEFT] OUTPUT of the NanoVerb to an amplification system or mixer input. Additionally, you could connect a second 1/4" phone cord to the [RIGHT] OUTPUT for use with a stereo amplification system, or two mixer inputs. Stereo. Connect two 1/4" phone cords to the [LEFT/MONO] & [RIGHT ] INPUTS of the NanoVerb from a stereo source , and two 1/4" phone cords from the [LEFT/MONO] & [RIGHT] OUTPUTS of the NanoVerb to a stereo amplification system or two mixer inputs.
FROM INSTRUMENT OR EFFECTS SEND

LEFT INPUT

RIGHT INPUT

LEFT OUTPUT

RIGHT OUTPUT
If connecting to a mixing consoles aux sends/returns, you will want to turn the [MIX] knob fully clockwise so that the NanoVerb outputs only wet (effected) signal.

Powering Up

After making your connections, turn on the systems power using this procedure:
Chapter 1 Your First Session with the NanoVerb
Before turning on the NanoVerbs power, check the following items:
Have all connections been made correctly? Are the volume controls of the amplifier or mixer turned down?
Insert the Power jack into the [POWER] input on the rear panel of the NanoVerb and plug the power adapter into an AC outlet.
Upon power-up, the Power On LED will illuminate.
Turn on the power of the amplifier/mixer, and adjust the volume.

Setting Levels

Proper setting of the input and output levels is crucial in order to achieve the maximum signal-to-noise ratio. As a good rule of thumb, it is usually best to set both input and output level controls at 3/4 or 75% of full. This will decrease the possibility of overload distortion and keep the amount of background noise to a minimum. If the Signal LED on the NanoVerb begins to clip (turn red), turn down the Input level or decrease the volume of the source (instrument, mixer send, etc.). If the NanoVerbs level is causing the mixer or amp to distort, turn the Output Level down. For more detail on level setting, see page 25.
Whats on the Front Panel?
The NanoVerbs front panel contains the following:

Input. The Input level control sets the level going into the NanoVerb. This should be adjusted so that the Signal LED ( ) is green when signal is going into the unit. It controls both the Left and Right Input levels simultaneously. Mix. The Mix control adjusts the balance between the direct signal coming into the input and the effects generated by the NanoVerb.
Output. The Output level control sets the level going to the amplifier or mixer

from the NanoVerb.

Power LED. The Power LED is illuminated whenever the NanoVerb's power

adapter is plugged in.

Signal LED. The Signal LED displays the signal level coming into the Input. During normal operation, this LED should turn green whenever there is signal coming into the inputs. If the signal level is at the maximum, this LED will turn red and you will begin to hear the signal distort.
Program Select. The Program Select Knob is used to choose the program you

wish to use.

Adjust. Each program on the NanoVerb has one parameter which can be
adjusted. Depending on the type of program selected, this knob might alter reverb decay, chorus depth, etc.

Auditioning Programs

The NanoVerb has 16 programs. These programs have been chosen to be the most useful effects available for a large variety of music styles. To audition the internal effect programs, turn the Program Select knob to scroll through each of the 16 presets.
Adjusting Effects Mix Levels
Whether a program contains a single effect or two or three effects, you can adjust the NanoVerbs [MIX] control to obtain a desirable balance between the original, uneffected signal and each effects output. The [MIX] Knob controls the balance between the input signal and the effects generated by the NanoVerb. By turning [MIX] to the right allows you to hear more effects; turning it to the left lets you hear more of the source signal. When hooked up to an instrument setup, such as a guitar amp, the Mix setting will typically be somewhere in the middle, balancing the effects with the sound of the source instrument. If the NanoVerb is connected to a mixing consoles Aux Send, the [MIX] control should be set all the way to the right (effects only) so that the balance can be controlled from the board. When the [MIX] control is turned all the way to the left, you will only hear the direct signal (effects will be bypassed).

Editing Programs

Any of the internal programs on the NanoVerb may be editing using the [ADJUST] knob. The function of this knob will change depending on the Program selected. For example, it will adjust reverb decay on a Hall program and lezlie speed on the Rotary program.
The Adjust knob is always active, so when you change to a new program it will automatically read the Adjust knob setting.

Bypassing Effects

At any time you can bypass the effects, thereby allowing the direct signal to pass through the NanoVerb unchanged. This can be done in two ways: by turning the MIX knob all the way to the left, by connecting a footswitch to the [BYPASS] jack and pressing the footswitch.
Each time the footswitch connected to the [BYPASS] jack is pressed, Bypass mode is toggled on and off again. For more information about the Footswitch, see page 20.
Placement and Installation
The NanoVerb may be mounted almost anywhere it's needed: on a table, on top of an amp, next to a mixing console. In any case, make sure to place it safely where it will not fall or be damaged. If it will be on furniture, make sure to attach the rubber feet provided to the bottom of the unit. While the NanoVerb itself doesn't generate any magnetic or hum fields, its power supply may do so. Make sure to place the power supply away from other audio equipment that is sensitive to induced fields, and away from the signal wiring. In rare instances, the NanoVerb itself may pick up noise fields generated by other equipment such as large power amplifiers; in this case, move the NanoVerb until the noise goes away.

Rack Mounting

The most secure mounting is on a "universal" rack shelf, available from various rack manufacturers or your music dealer. The NanoVerb's height conforms to singlespace mounting, and up to three NanoVerbs may be mounted side-by-side in a standard universal EIA 19" equipment rack. A hole is pre-threaded in the base of the NanoVerb to attach it to a rack. Use an M5 x 6 screw (included) to fasten the NanoVerb to your rack tray. There is an end stop in the screw hole to prevent longer screws from damaging the electronics.

Connections Chapter 2

CHAPTER 2

CONNECTIONS

AC Power Hookup
The NanoVerb comes with a power adapter suitable for the voltage of the country it is shipped to (either 110 or 220V, 50 or 60 Hz). To turn on the NanoVerb, plug the small end of the power adapter cord into NanoVerbs [POWER] socket and the male (plug) end into a source of AC power. Its good practice to not plug in the NanoVerb until all other cables are hooked up.
Alesis cannot be responsible for problems caused by using the NanoVerb or any associated equipment with improper AC wiring.
Line Conditioners and Protectors
Although the NanoVerb is designed to tolerate typical voltage variations, in todays world the voltage coming from the AC line may contain spikes or transients that can possibly stress your gear and, over time, cause a failure. There are three main ways to protect against this, listed in ascending order of cost and complexity: Line spike/surge protectors. Relatively inexpensive, these are designed to protect against strong surges and spikes, acting somewhat like fuses in that they need to be replaced if theyve been hit by an extremely strong spike. Line filters. These generally combine spike/surge protection with filters that remove some line noise (dimmer hash, transients from other appliances, etc.). Uninterruptible power supply (UPS). This is the most sophisticated option. A UPS provides power even if the AC power line fails completely. Intended for computer applications, a UPS allows you to complete an orderly shutdown of a computer system in the event of a power outage, and the isolation it provides from the power line minimizes all forms of interferencespikes, noise, etc.

Audio Connections

The connections between the NanoVerb and your studio are your musics lifeline, so use only high quality cables. These should be low-capacitance shielded cables with a stranded (not solid) internal conductor and a low-resistance shield. Although quality cables cost more, they do make a difference. Route cables to the NanoVerb correctly by observing the following precautions: Do not bundle audio cables with AC power cords. Avoid running audio cables, or placing the NanoVerb itself, near sources of electromagnetic interference such as transformers, monitors, computers, etc. Never unplug a cable by pulling on the wire itself. Always unplug by firmly grasping the body of the plug and pulling directly outward. Do not place cables where they can be stepped on. Stepping on a cable may not cause immediate damage, but it can compress the insulation between the center conductor and shield (degrading performance), or reduce the cables reliability. Avoid twisting the cable or having it make sharp, right angle turns.

Chapter 2 Connections

Typical Applications
The audio inputs and outputs are typically used in one of three ways: from one or two effect/aux send outputs of a mixer, and out to the effect return inputs of the mixer; or, from a line-level instrument (like a guitar or keyboard with either a mono or stereo output), and out to an amplifier or mixer input; or, from the stereo buss outputs of a mixer to a mix-down tape machine or amplifier.
When used with a mono source, the NanoVerb is placed between the source and the mixer/amplifier. Although the source may be mono, both the [LEFT] and [RIGHT] outputs can be connected to the inputs of a mixer/amplifier if stereo processing effects are desired. If using the effect sends of a mixer, you have the advantage of sending any of the mixers input channels to the NanoVerbs input(s), and have control over the level of each channel being sent. These applications are outlined and illustrated in detail on the following pages.

Input Jack Wiring

The NanoVerbs [LEFT] INPUT jack is normalled to the [RIGHT] INPUT. This means that if you only connect a single mono cable to the [LEFT] INPUT jack, it will also be routed to the [RIGHT] INPUT. However, if anything is connected to the [RIGHT] INPUT jack, this normalized connection will be broken; in this case the [LEFT] INPUT jack will feed only the [LEFT] INPUT, and the [RIGHT] INPUT jack feeds only the [RIGHT] INPUT. Also, the [RIGHT] INPUT jack is NOT normalled to the [LEFT] INPUT.

Using Aux Sends and Returns
Generally, mixing consoles provide two types of auxiliary sends: pre-fader sends for creating a cue (headphone or monitor) mix, and post-fader sends for effects units. Typically, if a mixer has more than two sends per channel (4, 6 or 8, perhaps), the first two sends are reserved for the cue sends, while the remaining sends are used to feed effects such as the NanoVerb. Connect the NanoVerb using post-fader sends, so that when you fade a channel out, its effects will fade also. Using a mixers aux sends allows each channel to have its own level control feeding the aux output (and eventually the NanoVerb input). You can make a mix of any channels you want to go to the effects by using the individual channels aux send levels on the mixer. Most consoles also have aux master controls, which set the overall level of each aux output. But sending signal to the Nanoverb is only half the story. With a mixing console, the output of the Nanoverb must be returned to the mixer and turned up in the mix before you can hear it. Depending on the design of your mixer, you have two options for returning the effected signal to the mix: connecting to dedicated aux return inputs, or connecting to channel inputs.
The former is good if your mixer provides dedicated inputs (called returns) for effect devices like the NanoVerb. If your mixer does not have these, or you have already used them all, consider connecting the NanoVerb to channel inputs (if there are any remaining). This method gives you the added bonus of more panning options and EQ on the effects. No matter where you connect the output of the NanoVerb into the mixer, you are in control of the balance between the mixers channel inputs (the uneffected signal being routed to the aux sends and the Mix), and the effect returns coming from the NanoVerb. The effect returns generally should only contain effected signal, and not have any uneffected or "dry" signal mixed with it (since these two signals are blended together at the mixer). Therefore, it is necessary to set the mix so that only effected ("wet") signal is present at the NanoVerbs outputs. To do this, turn the Mix control all the way to the right.
Mono In - Stereo Out. If you only want to feed the NanoVerb a mono input, but wish to connect both of its outputs back to the mixer, you will need three 1/4" audio cables. Connect a 1/4" phone cord from an effect send to the [LEFT] input of the NanoVerb, another 1/4" phone cord from the [LEFT] output of the NanoVerb to an effect return or other mixer input, and another 1/4" phone cord from the [RIGHT] output of the NanoVerb to an adjacent effect return or mixer input. The Nanoverb creates a stereo output, even though only a single input is used.

KEEP AUDIO WIRING AS FAR AWAY FROM AC WIRING AS POSSIBLE. Many hums come from audio cabling being too near AC wiring or the power transformers used by equipment requiring an external supply. If a hum occurs, try moving the audio wiring around to see if the hum ceases or diminishes. If its not possible to separate the audio and AC wiring in some instances, make sure that the audio wires dont run parallel to any AC wire (they should only cross at right angles, if possible).
TO ELIMINATE HUM IF THE ABOVE HAS FAILED:
A) Disconnect the power from all outboard devices and tape machines except for the mixer and control room monitor power amp. B) Plug in each tape machine and outboard effects device one at a time. If possible, flip the polarity of the plug of each device (turn it around in the socket) until the quietest position is found. C) Make sure that all of the audio cables are in good working order. Cables with a detached ground wire will cause a very loud hum!! D) Keep all cables as short as possible, especially in unbalanced circuits. If the basic experiments dont uncover the source of the problem, consult your dealer or technician trained in proper studio grounding techniques. In some cases, a star grounding scheme must be used, with the mixer at the center of the star providing the shield ground on telescoping shields, which do NOT connect to the chassis ground of other equipment in the system. Note that the NanoVerb, with its external low-voltage power supply, has no power supply ground. Its power is transformer isolated for safety, so it has no need for a "safety ground". Signal ground is connected to chassis ground at the input and output jacks (as it is in most unbalanced equipment). If the NanoVerb is attached to a metal rack mounting shelf, the assembly shares a common ground with the other equipment in the same rack. In some cases (such as a star ground scheme), you may wish to use nonconductive rack rails or rack isolators to avoid ground loops. To avoid the possibility of electric shock, never defeat the safety ground found on other equipment in the system. When in doubt about proper electrical grounding schemes or the power to your system, consult a qualified, licensed electrician.

Footswitch

On the rear panel you will find a footswitch jack labeled [BYPASS]. This is a mono jack with connections for a normal momentary footswitch. The footswitch must be plugged in before the NanoVerb has its power turned on. You should not use the footswitch supplied with a guitar amplifier, as these are typically latching type footswitches. You can tell a latching footswitch from an unlatched type when it takes two presses to enable any of the functions (Bypass, etc.). Also, these footswitches usually click when stepped on. Use only Momentary (non-latching) footswitches with the NanoVerb. Pressing the footswitch will toggle Bypass mode on and off. When Bypass mode is activated, the effects will mute but the direct signal will continue going through the unit. Bypass turns off any effects going to the output, and is useful for turning off delay for a certain part of a song, for example.

Overview of Programs Chapter 3

CHAPTER 3

OVERVIEW OF PROGRAMS

Reverb Effects

Reverb is made up of a large number of distinct echoes, called reflections. In a natural acoustic space, each reflections amplitude and brightness decays over time. This decaying action is influenced by the room size, the location of the sound source in the room, the hardness of the walls, and many other factors. The NanoVerb offers the following types of reverberation:
Concert Hall (3 Programs)
This is a simulation of a large concert hall. Halls tend to be large rooms with lots of reflective surfaces, where sounds can swim around, changing timbre over time. This is a classic reverb which sounds good on just about anything. Try it on vocals, drums, acoustic, electric, or orchestral instruments. Hall 1 - This is a large bright hall program. It works well for almost anything, try it on drums, guitars or vocals. Hall 2 - This is a warmer hall program. It especially adds depth and character to acoustic guitars and pianos with it's decay set long. Hall 3 - The third program is a medium hall with 12ms of predelay before the reverb starts. It sounds great on big rock snares, but try it on vocals and electric guitar too.

Real Room (3 Programs)

This algorithm gives you the sound of a medium size studio room. This algorithm uses a lot of processing power for a rich sound and smooth decay. It has a punchier, bigger sound than a hall reverb, which makes it good for rock and dance music. The attack is also more reflective. It sounds good on drums, keyboards and guitars. Room 1- This hardwood studio room has a lot of early reflection slap for big drum sounds. It also works well for acoustic instruments, especially with the decay turned up. Room 2- This program is perfect for adding a little ambiance to a dry track. Try it on antiseptic synth sounds or on dry, unplugged mixes with the decay set short. Room 3- Ideal for acoustic guitars and classical instruments, this program emulates a warmer studio room.
Plate Reverb (3 Programs)
This is a simulation of a classic echo plate, a 4' by 8' suspended sheet of metal with transducers at either end used to produce reverb. Popular in the 1970s, it is still prized for its transparent sound, particularly on vocals and guitars. It works well for a lush lead vocal, piano, or guitar, especially when looking for a classic rock and roll sound. Plate 1- The first program is a classic bright vocal plate for pristine lead and background vocals. Plate 2- A warmer variation of the previous program, great for adding sustain on acoustic guitar and strings. Plate 3- This program is a more realistic simulation of a vintage tube plate reverb. It has very little bottom end, which makes it great for snappy snares and skinny guitars.

Chapter 3 Overview of Programs

Nonlinear (1 Program)

In the mid '80s, a certain British producer/engineer (who shall remain anonymous) discovered a clever way of creating a huge drum sound. He would place the drum set in a large, reverberant room, mic the room and chop off the end of the reverb tail with a noise gate. When this sound caught on, digital reverbs began to be released with a "Nonlinear" program, which simulated this effect. In the end their simulation became more widely used than the effect it was trying to emulate, and the non linear reverb earned it's place in effects history. Non Linear- This is a classic example of the mid-80's "Nonlin" gate program. It is most commonly used on snares and toms, but can also spice up brass stabs and percussion.

Reverb Parameter Adjust

The reverb decay determines how long the reverb will sound before it dies away. Turning up the reverb decay will have the effect of increasing the room's size. Generally, classical, jazz, and ballad styles will use longer decay times than uptempo rock or dance music.
Pitch Based Effects (5 Programs)
Pitch based effects alter the pitch and delay of a signal in various ways to produce layered timbres that are more complex than the original signal. Some of these effects are achieved by splitting the signal into at least two parts, effecting the pitch of one of the parts, then mixing them back together. This eventual mixing is essential since the overall sound of the effect is achieved by the difference between the dry, uneffected signal and the effects signal. Therefore, when using chorus or flange, its best to keep the mix of effected and direct signal at equal strength. This could mean setting the [MIX] control at 50% of the NanoVerb on an instrument setup, or raising the effect return on a mixer. Chorus- The chorus effect is achieved by splitting the signal into four parts with a dry signal and a separate detuning section for both left and right channels. The detuning is further effected by being modulated by an LFO (low frequency oscillator) which causes the detuning to vary. The NanoVerbs chorus has individual LFOs controlling the left and right sides, set at different rates. This effect, called true stereo chorus, often has a wider stereo image than regular stereo chorus effects. When the Rate is changed on a true stereo chorus, the chorus rate difference between the left and right sides is maintained. Note: This chorus processes the left and right sides individually, so any stereo imaging will be maintained.

DRY SIGNAL FEEDBACK

LEFT CHORUSED OUTPUT

LEFT DRY SIGNAL

DETUNE

LFO RIGHT DRY SIGNAL

DETUNE RIGHT CHORUSED OUTPUT

FEEDBACK DRY SIGNAL

Flange- First used in the 1960s, flanging was achieved by the use of two tape recorders that would record and play back the same program in synchronization. By slowing down one tape machine, and then letting it catch up with the other, different phase cancellations would occur at different frequencies. Since the slowing down of the tape machines was done by hand pressure against the flanges of the tape supply reels, the term flanging came into being. Flanging is similar to chorusing , but modulates the delayed signal over a much shorter delay range (typically 0-12 ms). This produces a jet airplane-like sound. In the case of the NanoVerb's flange, the signal is split into four parts with a stereo dry signal and a separate delay section for both left and right channels with one channel flanging up while the other channel flanges down. Once again, this causes the effect to become more pronounced and dramatic.

LEFT FLANGED OUTPUT

DRY SIGNAL
DELAY RIGHT FLANGED OUTPUT
Rotary- The Rotary effect emulates a rotating speaker. This effect was extremely popular during the 1960s and was achieved by mechanically rotating the speakers to produce complex timbral changes. The lezlie speaker system is most often used with tone-wheel organs, but is occasionally used for guitar amplification as well. When changing the speed between fast and slow, the effect will slowly ramp to the new speed rather than change abruptly, just as the original would do. Note: When using the Rotary program, the Mix parameter should be turned all the way to the right.
Chorus/Room 1- The first multieffects program is a layered true stereo chorus and large room reverb. It works great on guitars, synths and electric pianos. Chorus/Room 2- The other multieffects program adds a delay to the chorus/room sound for a different flavor. It works well for slow, funky guitars or big ballad solos.
Pitch-Based Parameter Adjust
On the chorus and flange programs, the Rate control sets the speed of the chorus or flanging sweep. When the chorus rate is increased, the depth is similarly decreased to maintain a constant pitch shift. On the Rotary program, the [ADJUST] knob controls the speed of the Lezlie motor, either fast or slow. On the Chorus/Room 1 program the [ADJUST] knob edits the reverb decay time, where on the Chorus/Room 2 program [ADJUST] edits the delay time.

Delay (1 Program)

Delay is a discrete echo repeat, unlike the rapid wash of repeats that create reverb effects. It is useful for adding depth to a track or performance if reverb is adding too much coloration to the sound. Delay- This program provides a delay of up to 1270 ms. The delay time can be adjusted in 10 millisecond increments. This is a useful utility program which can add space to vocals or instruments without "muddying up" a mix.

Delay Parameter Adjust

This control sets the time between the input signal and the first delay tap.
Description of Controls Chapter 4

CHAPTER 4

DESCRIPTION OF CONTROLS

Front Panel

Input Level
The [INPUT] Level controls the level of the signal being fed into the NanoVerb. The NanoVerb can operate with signal levels anywhere from +4dBu pro audio gear to -20 dBV guitar level signals. To set the input level, watch the [SIGNAL] LED while adjusting the [INPUT] level (see below).

Mix Level

The [MIX] Level controls the balance between the uneffected signal coming through the inputs and the effects being generated by the NanoVerb. When [MIX] is turned all the way to the left, the input signal will be sent straight to the output with no effects added. When [MIX] is turned all the way to right, only the effects will be sent to the outputs with none of the original input signal mixed in. By keeping the Mix somewhere in the center, a blend of dry and wet signal can be achieved. With a typical instrument setup (use with a guitar amp, etc.) the Mix is usually set around 12 oclock. When used with a mixing console, the Mix control should be turned all the way to the right (full wet) so that the effects mix can be controlled from the mixer.

Output Level

The [OUTPUT] Level controls the volume of the signal from the outputs. The typical level for this control is 75%, but it can be raised or lowered as necessary.

Signal Level LED

This dual-color LED monitors the signal strength of the unprocessed inputs, and is used in much the same way as the level meters on a standard tape recorder. When the LED turns red, the input signal will be distorted so the [INPUT] level should be backed off. If the green [SIGNAL] LED is barely coming on, the input signal is not high enough and the resulting sound from the NanoVerb may be noisy. Ideally, the [INPUT] signal level should be set so that the [SIGNAL] LED is solid green when audio is being played into it.

Program Select Knob

The Program Select Knob is used to change programs.

Adjust Knob

The [ADJUST] Knob is used to edit aspects of the currently selected program. For example, on a Concert Hall program, the Adjust knob edits Reverb Decay Time. [ADJUST] is always active, so newly selected programs always read the knob setting.

Rear Panel

Chapter 4 Description of Controls
This is a plug for connecting the Alesis Model P3 9VAC power supply (supplied). The power supply included with the NanoVerb is compatible with the electrical requirements of the country of purchase, and should be connected to the proper electrical outlet. (In the USA, this is 120VAC.) The correct power supply must be used AT ALL TIMES. Any other power supply might create a fire risk and/or permanently damage your unit. This damage would NOT be covered under your warranty.

Bypass

This is a 1/4" phone jack which connects to a momentary (not latching) footswitch, either normally-open or normally-closed. When the Footswitch is pressed, the NanoVerb will stop producing effects and only the dry signal will pass through the unit. If the Footswitch is pressed again, effects output will continue.
Input (Left/Mono & Right)
These are 1/4" unbalanced phone jacks which connect to sources such as the effects sends of mixing consoles. They may be used with nominal input levels from -20dBV (guitar level) to +4dBu. For mono applications, use the [LEFT/MONO] input. The [LEFT/MONO] input jack is normalled to the [RIGHT] jack. This means that when nothing is plugged into the [RIGHT] input jack, the signal present at the [LEFT/MONO] input is routed to the [RIGHT] as well.
Output (Left & Right)
These are 1/4" unbalanced phone jacks which connect to devices such as the effects returns on a mixing console or power amplifier inputs. For mono applications, use the [LEFT] output.
Troubleshooting Chapter 5

CHAPTER 5

TROUBLESHOOTING

Troubleshooting Index

If you experience problems while operating the NanoVerb, please use the following table to locate possible causes and solutions before contacting Alesis Product Support for assistance.

Symptom

Solution
Check that the power cable is plugged in properly. Turn down the Input Level control. Turn up the Input Level control. Turn Output up and reduce Aux Return level on mixer. Turn the Mix control to the left or press the Bypass Footswitch. Turn the Output control to the right. Try plugging the unit into another power jack or different audio cables. Power down and power up again.
The Power LED does not No power. light when the unit is powered on. Sound is distorted, Red Input level is too high. Input LED is lit Sound is excessively noisy, Input level is too low Green Input LED barely lit. Output level is too low and Aux Return on mixer is up full. No audio is heard. Bypass function is on with Mix turned 100% wet. Output level is too low. Hum or noise from output. Unit does not respond to front panel controls. Ground loop, unshielded cables. Unknown software conflict, cosmic rays, or static electricity.

Maintenance/Service

Cleaning
Disconnect the AC cord, then use a damp cloth to clean the NanoVerbs metal and plastic surfaces. For heavy dirt, use a non-abrasive household cleaner such as Formula 409 or Fantastik. DO NOT SPRAY THE CLEANER DIRECTLY ONTO THE FRONT OF THE UNIT AS IT MAY DESTROY THE LUBRICANTS USED IN THE SWITCHES AND CONTROLS! Spray onto a cloth, then use cloth to clean the unit.
Refer All Servicing to Alesis
We believe that the NanoVerb is one of the most reliable multieffects processors that can be made using current technology, and should provide years of trouble-free use. However, should problems occur, DO NOT attempt to service the unit yourself. Service on this product should be performed only by qualified technicians. NO USER SERVICEABLE PARTS INSIDE.

Obtaining Repair Service

Before contacting Alesis, check over all your connections, and make sure youve read the manual.
Chapter 5 Troubleshooting
Customers in the USA and Canada: If the problem persists, call Alesis USA at 1310-841-2272 and request the Product Support department. Talk the problem over with one of our technicians; if necessary, you will be given a return order (RO) number and instructions on how to return the unit. All units must be shipped prepaid and COD shipments will not be accepted. For prompt service, indicate the RO number on the shipping label. Units without an RO will not be accepted. If you do not have the original packing, ship the NanoVerb in a sturdy carton, with shock-absorbing materials such as styrofoam pellets (the kind without CFCs, please) or bubble-pack surrounding the unit. Shipping damage caused by inadequate packing is not covered by the Alesis warranty. Tape a note to the top of the unit describing the problem, include your name and a phone number where Alesis can contact you if necessary, as well as instructions on where you want the product returned. Alesis will pay for standard one-way shipping back to you on any repair covered under the terms of this warranty. Next day service is available for a surcharge. Field repairs are not normally authorized during the warranty period, and repair attempts by unqualified personnel may invalidate the warranty. Service address for customers in the USA: Alesis Product Support 3630 Holdrege Avenue Los Angeles, CA 90016 Customers outside the USA and Canada: Contact your local Alesis distributor for any warranty assistance. The Alesis Limited Warranty applies only to products sold to users in the USA and Canada. Customers outside of the USA and Canada are not covered by this Limited Warranty and may or may not be covered by an independent distributor warranty in the country of sale. Do not return products to the factory unless you have been given specific instructions to do so.

PRODUCT OVERVIEW

www.alesis.com

NanoVerb 2

Digital Effects Processor
Color your sound with 256 rich Alesis DSP programs. The NanoVerb 2 gives you 256 killer effects algorithms in a compact, easyto-use, and incredibly affordable package. Youll enjoy its lush hall, plate and room reverbs, rich and true stereo chorus, flange, delay, and rotary speaker emulation. Plus, the NanoVerb 2s 52-bit DSP resolution ensures sonic quality that allows you to use it for any effects application from guitar rigs to studio recording. The NanoVerb 2s front panel adjust knob allows you to tweak the NanoVerb 2s great-sounding programs until theyre just right for your music, while the Input/Output levels and Mix controls ensure proper effect levels for a wide variety of applications. Plus, with its amazing low cost, you can afford to put two or three NanoVerb 2s in your rack for dedicating to multiple sources.

FEATURES FEATURES

>> 16 programs, with 16 variations each, for a total of 256 presets >> Analog wet/dry mix control >> Adjustable input and output gains >> Stereo inputs automatically switch to dual mono when signal is only present on the left jack >> Minimized signal patch for optimal sound quality >> Signal/clip LED control for easy visual monitoring >> Rugged, compact design for years of reliable performance >> Bypass control with footswitch, sold separately
All information is preliminary and subject to change.
P: [401] 658.5760 // F: [401] 658.3640